Philosophy, Music and Emotion explores two contentious issues in contemporary philosophy: the nature of music´s power to express emotion, and the nature of emotion itself. It shows how closely the two are related and provides a radically new account of what it means to say that music "expresses emotion." Geoffrey Madell maintains that most current accounts of musical expressiveness are fundamentally misguided. He attributes this fact to the influence of a famous argument of (...) the nineteenth-century critic Hanslick, and also to the dominant "cognitivist" approach to the nature of emotion, which sees the essence of emotion to be the entertaining of evaluative judgments and beliefs. This book argues that the cognitivist account of the nature of emotion is false and should be replaced with a conception of emotions as states of feeling. Central to this bold analysis is a new account of two closely connected mental states, desire and pleasure, and their role in human motivation. (shrink)

Book Information Philosophy, Music and Emotion. By Geoffrey Madell. Edinburgh University Press. Edinburgh. 2002. Pp. vii + 162. £40.

In joining Higgins’ music and emotion conversation I broaden the scope to consider the music–emotion nexus as a more dynamic, complex, contextual system of interactional experience. The music itself cannot be interpreted for what it does alone. We need to consider how musical experiences—understood holistically—may compel people to emotional experience, emotional work which is interwoven with context, aesthetic materials, and participating individuals.

One of the ways of analysing the relationship between music and emotions in through musical expressiveness. As the theory I discuss in this paper puts it, expressiveness in a particular kind of music's secondary quality or, to use the term which gives the theory its name, a _disposition_ of music to arouse a certain emotional response in listeners. The most accurate version of the dispositional theory is provided by Derek Matravers in his book _Art and Emotion_ and (...) in other papers: what I will try to do, then, is to illustrate Matravers theory and claim that it is a good solution to many problems concerning music and its capacity to affect our inner states. (shrink)

A successor to the acclaimed 'Music and Emotion', The Handbook of Music and Emotion provides comprehensive coverage of the field, in all its breadth and depth. As well as summarizing what is currently known about music and emotion, it will also stimulate further research in promising directions that have been little studied.

Links between musicality and vocal emotion perception skills have only recently emerged as a focus of study. Here we review current evidence for or against such links. Based on a systematic literature search, we identified 33 studies that addressed either (a) vocal emotion perception in musicians and nonmusicians, (b) vocal emotion perception in individuals with congenital amusia, (c) the role of individual differences (e.g., musical interests, psychoacoustic abilities), or (d) effects of musical training interventions on both the (...) normal hearing population and cochlear implant users. Overall, the evidence supports a link between musicality and vocal emotion perception abilities. We discuss potential factors moderating the link between emotions and music, and possible directions for future research. (shrink)

Randall R. Dipert argues that, at first glance, Rand's view of representational arts, such as literature and the visual arts, might seem to have little applicability to pure music. Nevertheless, Rand took music without words as a serious art form, and struggled to develop a plausible theory of music. As Torres and Kamhi note in What Art Is, Rand's approach probably contradicted certain elements of her full aesthetic theory. But her theory of music and its relationship (...) to emotions offers some fascinating suggestions that accord with—and in some respects go beyond—the best recent thinking in musical aesthetics. (shrink)

The aim of this contribution is to broaden the concept of musical meaning from an abstract and emotionally neutral cognitive representation to an emotion-integrating description that is related to the evolutionary approach to music. Starting from the dispositional machinery for dealing with music as a temporal and sounding phenomenon, musical emotions are considered as adaptive responses to be aroused in human beings as the product of neural structures that are specialized for their processing. A theoretical and empirical (...) background is provided in order to bring together the findings of music and emotion studies and the evolutionary approach to musical meaning. The theoretical grounding elaborates on the transition from referential to affective semantics, the distinction between expression and induction of emotions, and the tension between discrete-digital and analog-continuous processing of the sounds. The empirical background provides evidence from several findings such as infant-directed speech, referential emotive vocalizations and separation calls in lower mammals, the distinction between the acoustic and vehicle mode of sound perception, and the bodily and physiological reactions to the sounds. It is argued, finally, that early affective processing reflects the way emotions make our bodies feel, which in turn reflects on the emotions expressed and decoded. As such, there is a dynamic tension between nature and nurture, which is reflected in the nature-nurture-nature cycle of musical sense-making. (shrink)

It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.

Imagination, Music, and the Emotions: A Philosophical StudyTrivediSaamsuny. 2017. pp. 205. £57.

Nearly all listeners consider the subjective aspects of music, such as its emotional tone, to have primary importance. But contemporary philosophers often downplay, ignore, or even deny such aspects of experience. Moreover, traditional philosophies of music try to decontextualize it. Using music as an example, this paper explores the structure of qualitative experience, demonstrating that it is multi-layer emergent, non-compositional, enacted, and situation dependent, among other non-Cartesian properties. Our explanations draw on recent work in cognitive science, including (...) blending, image schemas, and sensory memory, as well as on phenomenology. A hierarchical structure transformation based complexity theory is applied to obtain a non-linear dynamical systems explanation of qualia and emotion that respects phenomenological insights about time, including retention and protention. The complexity measure provides both a metric structure and a potential function, on spaces of pieces that are constructed using given elements and transformations, with weights that reflect their cognitive difficulty. However, the approach is not reductionist; using improvisation and the evolution of musical notation as data, we argue that situatedness, especially enactment and social context, are key aspects of musical consciousness. (shrink)

Music impinges upon the body and the brain and has inductive power, relying on both innate dispositions and acquired mechanisms for coping with the sounds. This process is partly autonomous and partly deliberate, but multiple interrelations between several levels of processing can be shown. There is, further, a tradition in neuroscience that divides the organization of the brain into lower and higher functions. The latter have received a lot of attention in music and brain studies during the last (...) decades. Recent developments in neuroimaging techniques, however, have broadened the field by encompassing the study of both cortical and subcortical processing of the sounds. Much is still to be investigated but some major observations seem already to emerge. The domain of music and emotions is a typical example with a major focus on the pleasure that can be derived from listening to music. Pleasure, however, is not the only emotion that music can induce and the mechanisms behind its elicitation are far from understood. There are also mechanisms related to arousal and activation that are both less differentiated and at the same time more complex than the assumed mechanisms triggering basic emotions. It is tempting, therefore, to bring together contributions from neuroscience studies with a view to cover the possible range of answers to the question of what pleasurable or mood-modifying effects music can have on human beings in real-time listening situations. (shrink)

Articulates an imaginationist solution to the question of how purely instrumental music can be perceived by a listener as having emotional content. Both musicians and laypersons can perceive purely instrumental music without words or an associated story or program as expressing emotions such as happiness and sadness. But how? In this book, Saam Trivedi discusses and critiques the leading philosophical approaches to this question, including formalism, metaphorism, expression theories, arousalism, resemblance theories, and persona theories. Finding these to be (...) inadequate, he advocates an “imaginationist” solution, by which absolute music is not really or literally sad but is only imagined to be so in a variety of ways. In particular, he argues that we as listeners animate the music ourselves, imaginatively projecting life and mental states onto it. Bolstering his argument with empirical data from studies in neuroscience, psychology, and cognitive science, Trivedi also addresses and explores larger philosophical questions such as the nature of emotions, metaphors, and imagination. Saam Trivedi is Associate Professor of Philosophy at Brooklyn College, City University of New York. (shrink)

Expressive music, almost everyone agrees, evokes an emotional response of some kind in receptive listeners, at least some of the time, in at least some conditions of listening. But is such an emotional response distinctive of or unique to the music that evokes it? In other words, is there such a thing as music-specific emotion? This essay is devoted to an exploration of that question and others related to it. In the main part of the essay (...) a sixpart component model of a standard emotion is set out, and a case is made for the music-specificity of an emotional response to music of a mirroring sort, with respect to four of the six components of such emotion. In the latter part of the essay aspects of the phenomenology of the music-listening experience, and especially that of the inner sounding of music being heard, are explored further, and issues of the value, communicability, and degree of singularity of the emotional response to expressive music are addressed. (shrink)

This research focuses on the complex relationship between the musical narrative and emotional expression in piano works from a philosophical point of view. It aims at identifying how emotions are enacted within music and how they can influence and mold the listener’s experience. Building on the premises of important philosophical theories, the study explores the idea of musical narrative, its origins, and its impact on forming emotions within music. Emotional communication in piano works is also discussed in the (...) study, with an emphasis on how composers incorporate various musical features to portray certain emotions. Furthermore, this research elaborates on the philosophical perspective of musical narrative and emotional expression and contributes to the understanding of the aspects within the framework of piano music. The findings of this research are intended to add to the debates in the philosophy of music, with regard to performance and listener’s reception. (shrink)

L'ouvrage de Malcolm Budd ainsi intitulé porte sur les relations entre la musique et les émotions en lien avec la valeur attribuée à la musique. Il passe en revue d'une part les théories qui nient la pertinence des émotions pour l'appréciation de la musique, d'autre part celles qui l'endossent. Toutes, à son avis, sont déficientes, et il plaide pour une théorie de la musique qui serait moins monolithique que celles-là.

The strict lockdown experienced in Spain during March–June 2020 as a consequence of the COVID-19 crisis has led to strong negative emotions. Music can contribute to enhancing wellbeing, but the extent of this effect may be modulated by both personal and context-related variables. This study aimed to analyze the impact of the two types of variables on the perceived efficacy of musical behaviors to fulfill adults’ emotional wellbeing-related goals during the lockdown established in Spain. Personal variables included age, gender, (...) musical training, personality, resilience, and perception of music’s importance. Contextual variables referred to living in a region with a high COVID-19 impact, perception of belonging to a risk group, being alone, having caring responsibilities during confinement, and amount of time of music listening as compared to prior to the crisis. The study was conducted retrospectively during August–December 2020, when the strict lockdown was over in Spain. An online survey was disseminated among the general population and groups of musicians, and the answers of 507 adults were analyzed. Only personal, but not COVID-19 context-related variables, showed an impact on music’s efficacy. The youngest age group of adults and those with musical training reported the highest efficacy of music for wellbeing enhancement, and music’s importance was found to be the main significant predictor of music’s perceived efficacy. Our findings suggest that the people who have been reported to be emotionally more vulnerable during the lockdown, due to either a strong impact on their daily lives or their lower resilience, perceive a higher benefit from musical behaviors. Being musically trained, even for a small number of years, also leads to a perception of higher efficacy of music for the achievement of emotional wellbeing goals. However, this effect is explained by the musically trained individuals’ higher perception of music’s importance. Although musical behaviors can be generally considered as important for wellbeing enhancement, our study highlights who are the potential individuals who could benefit the most from music-related activities for obtaining better levels of wellbeing, at least within the current context of the COVID-19 crisis. (shrink)

Roger Scruton appears to have been the first to argue for and articulate an anti-realist theory of aesthetic properties. In the case of emotional qualities of music, his principal argument against realism is unsound and cannot, I believe, be repaired. Nevertheless an anti-realist view of emotional qualities of music is in my view correct and I defend Scruton's insight against a rival realist conception. However, I prefer a rather different form of anti-realism to Scruton's.

What do musicians, critics, and listeners mean when they use emotion‐words to describe a piece of instrumental music? How can ‘pure’ musical sounds ‘express’ emotions such as joyfulness, sadness, anguish, optimism, and anger? Sounds are not living organisms; sounds cannot feel emotions. Yet many people around the world believe they hear emotions in sounds and/or feel the emotions expressed by musical patterns. Is there a reasonable explanation for this dilemma? These issues gain additional importance when we ask them (...) in the context of music education. For example, can we, or should we, teach music students to listen‐for musical expressions of emotion? If so, how? My contention is that listeners can and do hear emotions in musical patterns; musical sounds can be expressive of emotions. Accordingly, I offer ideas for teaching students how to hear and create musical expressions of emotions. (shrink)

Matravers examines how emotions form the bridge between our experience of art and of life. We often find that a particular poem, painting, or piece of music carries an emotional charge; and we may experience emotions toward, or on behalf of, a particular fictional character. Matravers shows that what these experiences have in common, and what links them to the expression of emotion in non-artistic cases, is the role played by feeling. He carries out a critical survey of (...) various accounts of the nature of fiction, attacks contemporary cognitivist accounts of expression, and offers an uncompromising defense of a controversial view about musical expression: that music works by expressing the emotions it causes its listeners to feel. (shrink)

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

We disagree with Juslin & Vll's (J&V's) thesis that music-evoked emotions are indistinguishable from other emotions in both their nature and underlying mechanisms and that music just induces some emotions more frequently than others. Empirical evidence suggests that frequency differences reflect the specific nature of music-evoked emotions: aesthetic and reactive rather than utilitarian and proactive. Additional mechanisms and determinants are suggested as predictors of emotions triggered by music.

Sentiment analysis is one of the important tasks of online opinion analysis and an important means to guide the direction of online opinion and maintain social stability. Due to the multiple characteristics of linguistic expressions, ambiguity, multiple meanings of words, and the increasing speed of new words, it is a great challenge for the task of text sentiment analysis. Commonly used machine learning methods suffer from inadequate text feature extraction, and the emergence of deep learning has brought a turnaround for (...) this purpose. In this paper, we investigate the problem of text sentiment analysis using methods related to deep learning. In order to incorporate user and product information in a more diverse way in the model, this paper proposes a model based on a deep bidirectional long-and short-term memory network-self-attention mechanism-custom classifier. The model first identifies contextual associations and acquires deep text features through a deep bidirectional long- and short-term memory network and then captures important features in the text using a self-attentive mechanism. The model finally combines user information and product information to build a custom classifier module and uses context-aware attention mechanisms to assign specific parameters to user information and product information, which improves the performance of the model on public datasets compared with current common models. The results show that the accuracy of the algorithm in this paper is high, and it is about 5% lower than the traditional algorithm. The method can reduce the number of iterations and the running time of the algorithm. (shrink)

In this essay, Timothy Justus reviews the book Brain and Music (2012) by Stefan Koelsch, first providing a sketch of the book’s contents, including examples of Koelsch’s empirical work from four core areas (1) musical syntax, (2) musical semantics, (3) music and action, and (4) music and emotion. Justus then proceeds to discuss the continuous nature of cognitive domains and the continuous nature of mental activity.